S5 E4 According to Harpy
by Harpy101
Summary: A lot about Thomas. Anna and Bates have a chance to reassess their strengths and reserves. New questions for Lady Mary. A new revelation for Daisy. Hughes has a moment with Bates. Tom has questions posed to him. Baxter has a painful moment, and a sweet one.


PRE-DAWN. SERVANT'S ENTRANCE FROM COURTYARD.

_Thomas exits in coat and cap__. He hunches up his collar  
>against the misty cold, lights<em> _a cigarette and walks off  
>toward the village.<em>

DOWNSTAIRS HALLWAY. MORNING.

_Mrs. Hughes stops in Carson's office doorway._

HUGHES  
>Well, then. How did you get on?<p>

_His face lights up seeing her before he can control his_  
><em>expression. Then he suddenly lets down his guard, resuming<em>  
><em>the ease that they've shared for years.<em>

CARSON  
>Come in. I've much to tell you.<p>

_Carson's office door shuts._

CAR INTERIOR. MORNING.

_Tom is driving Sarah from home to back to school._

TOM  
>Barely any damage to crops and<br>buildings. Good to see.

SARAH

_Is staring at Tom._

TOM  
>What?<p>

SARAH  
>Are you a romantic?<p>

Tom  
>No.<p>

_Sarah still stares. Now she is amused._

Sarah  
>Yes, you are.<p>

Tom  
>I'm a communist.<p>

SARAH  
>It's nearly the same thing.<p>

TOM  
>It is not.<p>

SARAH  
>Look at Russia. Is there a more<br>romantic country on earth?

TOM

_Tom isn't sure how to answer now._

SARAH  
>Have you seen the local school?<p>

TOM  
>No, I haven't.<p>

SARAH  
>When will your daughter be ready to<br>attend school? Two years, three?  
>As a father aren't you curious<br>about what the local school system  
>has to offer? Or will she be sent<br>away to school?

TOM  
>She will go away to school when<br>she's old enough to present more  
>than one persuasive argument in<br>favor of it. (Pause) More than  
>three persuasive arguments.<p>

SARAH  
>(Laughs)<br>Well, then, why don't you come in  
>and see it? It's Sunday-I'm just<br>doing some preparations for the  
>week.<p>

Long silence.

SARAH (CONT'D)  
>You should put down roots or run.<br>One or the other.

TOM  
>What-<p>

SARAH  
>I mean that you have family in<br>Liverpool and Ireland and America,  
>but you stay because she loved<br>them.

_He knows what she means and doesn't answer._

SARAH (CONT'D)  
>You stay for her love for them.<br>But still you can barely stand to  
>stay. Why not make a plan? Look<br>at your options and make some  
>decisions.<p>

TOM

_Looks sideways at her.  
><em>  
>Why are you-<p>

SARAH  
>Well, you're quite nice. But I<br>wonder how long you'll stay here.

TOM  
>I want to help make the estate<br>work.

SARAH  
>Suppose it doesn't after all?<br>You've put it all in to help her  
>family. Even though they aren't<br>your sort of people.

TOM  
>I suppose, yes.<p>

SARAH  
>(Nods) Romantic.<p>

_They stop in front of the school and Sarah begins to get out_  
><em>of the car.<em>

SARAH (CONT'D)  
>Thank you for the ride.<p>

They look at each other.

SARAH (CONT'D)  
>Please come in and see the school.<p>

CARSON'S OFFICE. MORNING.

HUGHES  
>Has Lady Mary told His Lordship?<p>

CARSON  
>It's early yet.<p>

HUGHES  
>He's not my favorite. He's not a<br>favorite of anyone. But he does  
>know the job. Will you give him a<br>reference?

CARSON  
>I will. I'm not enthusiastic about<br>it.

HUGHES  
>Why would he-<p>

CARSON  
>To undermine Daisy and Anna. Why<br>else?

HUGHES  
>It's seems a lot of trouble to go<br>to for that. And risky.

CARSON  
>Who knows why that sort - do what<br>they do?

_Knock on the door. Anna peeks in._

ANNA  
>Shall I come back?<p>

HUGHES  
>No, Anna, come in.<p>

_Hughes takes the keys from Anna._

HUGHES (CONT'D)  
>Well, I've heard excellent reports<br>about you. Not that I'm surprised.  
>Congratulations.<p>

ANNA  
>One night was easy enough.<p>

CARSON  
>It was not an easy night for any of<br>us. You held the house together at  
>top standard on a very challenging<br>evening. I could not have asked  
>more of anyone. (Looks pointedly at<br>Hughes) Even you.

HUGHES  
>Oh! Am I replaceable then?<p>

CARSON  
>(a bit too vehemently) Of course<br>not!

HUGHES  
>(To Anna)<br>You'll do very well as head  
>housekeeper if you ever decide you<br>want it. You should be my next in  
>line.<p>

_Anna is a bit uncomfortable now. There is an awkward_  
><em>silence.<em>

HUGHES (CONT'D)  
>Or-you could continue as a lady's<br>maid. You don't have to decide  
>now, of course. I imagine Lady Mary<br>will be glad to have you back.

NURSERY. MORNING.

_Blake is teaching George "Pat a Cake". They are both_  
><em>laughing. Mary stops outside the door in the hallway to<em>  
><em>listen.<em>

_Blake picks up George and holds him comfortably, with_  
><em>George's head on his shoulder; they look out the window<em>  
><em>together.<em>

BLAKE  
>What do you think then, eh, George?<br>Quite a nice morning for a ride  
>out. We'll talk to the farmers<br>this morning. Perhaps we'll visit  
>the sheep, or the cows. What does<br>the sheep say? Bah-bah-bah! And  
>what does the cow say?<p>

_Mary steps into the nursery._

MARY  
>I believe it's "moo".<p>

BLAKE  
>Look, George! Why there's Mummy!<br>Isn't Mummy pretty this morning?

MARY  
>You might want to go easier.<p>

BLAKE  
>And what would that accomplish?<p>

MARY  
>I might lose some of the sensation<br>of bombardment.

BLAKE  
>I like this young man. He has a<br>calm about him. Must get it from  
>his father.<p>

MARY  
>Please don't joke about Matthew.<p>

BLAKE  
>You misunderstand me. That was a<br>joke about you.

_Mary's jaw drops a bit._

If I were to raise George I would  
>raise him as my first born but I<br>will see to it that he never  
>forgets his father. That he<br>respects his father's memory in  
>every way. And George can choose<br>his own destiny.

_Blake bounces George. George grabs one of Blake's fingers_  
><em>and Blake grins at him.<em>

He can be a professional if he  
>would like or he can run the<br>estates. With two fathers to look  
>to, his choices are broader. He'll<br>be ready for the world ahead.

MARY

_Still stares at him._

BLAKE  
>Bombardment, is it?<p>

HIS LORDSHIP'S DRESSING ROOM

_Bates is holding a jacket for His Lordship, who slides his arms into the sleeves._

BATES  
>As I said, I witnessed nothing<br>myself.

ROBERT  
>He's been here for so long! Why<br>risk such a thing? If he was  
>truly that sort wouldn't we have<br>seen some indication before?

BATES  
>Well, if you recall-<p>

ROBERT  
>It's not about which way he goes.<br>You've known a few of them, as I  
>have. It's not a-personality.<p>

BATES  
>I do agree. But Thomas's<br>personality-

_Robert turns. Bates begins fixing the various fasteners on the jacket._

ROBERT  
>Did Mary seem especially upset last<br>night? I didn't see it in her, but  
>perhaps she-well, you know how at<br>times a woman's sensitive nature-

BATES  
>I've never known Lady Mary's<br>emotions to get the better of the  
>facts in her mind, if I may be so<br>bold, My Lord.

ROBERT  
>(laughs)<br>Not even as a small child. The  
>facts were always important to<br>Mary.  
>It just seems a bolt from the blue.<p>

BATES  
>Do you recall the incident of<br>theft? And I'm sure Mr. Carson  
>will have his insights to add.<p>

_Bates begins brushing down the jacket._

ROBERT  
>It almost seems you'd like to see<br>him go.

BATES  
>I'm fond of Daisy. But he also<br>endangered my wife, if indirectly.

ROBERT  
>Of course, yes. I know how I would<br>feel.

BATES  
>Point of fact, he could have<br>endangered everyone in the house,  
>My Lord.<p>

_Bates has finished brushing. _

_Robert is pensive. He glances back at Bates and leaves._

FARMHOUSE INT.

_Edith holds Corinne in her lap._

Mr. Drewe enters the nursery.

MR. DREWE  
>That's the danger.<p>

_Edith looks up and Mr. Drewe smiles at her._

MR. DREWE (CONT'D)  
>Once a child gets under your skin,<br>there's no going back.

_Edith smiles back. They both watch the baby for a moment._

MR. DREWE (CONT'D)  
>You must have been very fond of her<br>mother.

EDITH  
>Yes. But I admit, I'm more fond of<br>her child than I expected to be.

MR. DREWE  
>Would you like to take her out?<br>It's a very fine morning. They  
>won't be back from church for<br>another hour.

EDITH  
>I'd love nothing more but I must<br>go. I'm off for London first thing  
>tomorrow. Mr. Drewe-I know you're<br>right. We do grow attached to  
>children. So I'll be very sorry if-<p>

MR. DREWE  
>If what, My Lady?<p>

EDITH  
>I hope-that I will not have to move<br>Corinne from here. But that might  
>be in her future. Other-friends of<br>the mother are involved. I hope you  
>and Mrs. Drewe would not be too<br>hurt by that.

MR. DREWE  
>I wouldn't be concerned with us, My<br>Lady, so much as the child.  
>Children need stability to grow<br>strong and secure. Too much change  
>too early can make them nervous and<br>vulnerable as adults.

EDITH  
>Well, as I say, I hope that will<br>not be the case. But I do  
>understand what you are saying.<p>

_Edith stares at Corinne. Drewe takes Corinne from Edith._  
><em>Edith is loathe to release her, but reassured by the way he<em>  
><em>holds her.<em>

OUTSIDE THE ESTATE. BLAKE AND MARY WALK TOGETHER.

MARY  
>I know Matthew made me a better<br>person. He was the only one who  
>did. George is a bit of Matthew for<br>me to answer to.

BLAKE  
>And what am I?<p>

MARY  
>I don't know yet. You're strong.<br>You've got the brains for the job.  
>And as it turns out we're on the<br>same side of the fight. But I must  
>be honest about my feelings, and<br>they are not entirely clear to me  
>yet.<p>

BLAKE  
>And your heart I will not do<br>without.

MARY  
>And I-I'm not sure. And I can't-<p>

BLAKE  
>I would never ask you to take an<br>action without your heart fully in  
>it. You don't do anything half<br>way.

MARY  
>It sounds very strange but-I don't<br>know who I am.

BLAKE  
>And the minute you do know, you<br>won't know anymore.

MARY  
>What do you mean?<p>

BLAKE  
>We change all the time. The minute<br>you know someone, even yourself,  
>you're different. That's why I<br>like children. They're honest  
>about it. One day they like<br>something, the next day they don't.  
>They don't try to stay the same.<p>

_Blake sighs and stops, facing her._

Mary, we need to look at the  
>numbers. I've new information from<br>the board, so we need to reassess  
>our developments for Downton and<br>make projections. You've done a  
>tremendous amount, but it may not<br>be enough. And if it's not-it's  
>better to know now. We should meet<br>next week, and I'll have more  
>figures for you. For now, Evelyn<br>and I must be off.

KITCHEN. TEA TIME.

CARSON  
>Since the Sunday roast was made<br>last night-

PATMORE  
>Good thinking. With eleven for<br>dinner! It's what I would have  
>done. We'll have a family favorite<br>tonight, chicken pie.

CARSON  
>It's quite a good philosophy, to<br>make twice what you need when bad  
>weather comes in. It saved us last<br>night.

PATMORE  
>What philosophy was that?<p>

CARSON  
>Daisy said that you said-that you<br>always make twice what you need  
>when-<p>

PATMORE  
>Daisy said that? (Laughs) I don't<br>know where she got that. I've  
>never said such a thing.<p>

_Carson pauses a moment in the hallway to sigh and shake his_  
><em>head. He enters the dining hall to see Hughes making up a<em>  
><em>tray.<em>

DINING HALL

_Staff at the table stand. They then sit._

CARSON  
>Is that-<p>

HUGHES  
>He hasn't been down.<p>

CARSON  
>I'm sure he can come down on his<br>own.

HUGHES  
>If it's alright with you-<p>

CARSON  
>Of course if you must-and of course<br>you weren't here when-

ANNA  
>Mrs. Hughes, if you're busy I'll<br>take it up.

_Bates stares at Anna. They lock eyes._

HUGHES  
>No, I've got it. And I admit I'd<br>like to hear what he has to say for  
>himself.<p>

CARSON  
>Well, don't miss your own lunch.<p>

_Hughes gives Carson a look and leaves the kitchen with the_  
><em>tray.<em>

ANNA  
>(Under her breath) What is it?<p>

_Bates is trying not to smile and keeping his voice very low._

BATES  
>I suppose I want to be the only boy<br>in the world who's had you bring a  
>tray.<p>

_Anna is giggling. Bates is laughing as quietly as possible._

_Anna reaches under the table and sides her hand into his._

_Anna looks across the table at Baxter who is reading a_  
><em>letter, and has gone pale. Baxter rises and leaves the dining<em>  
><em>hall. Anna follows her to the boot room.<em>

BOOT ROOM

_Baxter stands in a corner behind the door._

Anna peeks in.

ANNA  
>Miss Baxter. Are you alright?<p>

BAXTER  
>Yes, Mrs. Bates, quite.<p>

(BEAT)

ANNA  
>If you tire of keeping it to<br>yourself, you know where I am.

_Baxter looks at her gratefully. Baxter and Anna hold a long,_  
><em>silent look.<em>

ANNA (CONT'D)  
>If it's to do with Thomas-<p>

BAXTER  
>It might have been. But the time is<br>past for worrying about that now.

_Anna goes to Baxter and takes her hands. Baxter and Anna_  
><em>stand silhouetted in the boot room, Baxter's head bowed.<em>

WAGON DRIVING OUT OF THE VILLAGE. DAY.

DAISY  
>Thank you for taking me to the<br>doctor.

MASON  
>So all you'll need is that ointment<br>now, eh?

DAISY  
>It's not that bad. Lady Mary knew<br>what to do.

MASON  
>I expect you're experienced with<br>burns in the kitchen.

DAISY  
>We are, but I wouldn't have had<br>time to do anything, and most of  
>the kitchen maids are too new to<br>think on their feet. You have to  
>tell them everything. I'm grateful<br>to Lady Mary.

MASON  
>How was it, being head cook?<p>

DAISY  
>I had this feeling about the night<br>ahead-and I listened to it. I made  
>the roast a day early. Most didn't<br>complain. If I hadn't done that-

MASON  
>Trusting your instincts is<br>important. You can't farm without  
>that.<p>

DAISY  
>I think I'd like to start learning<br>the farm. I love cooking. But I  
>don't think I want to do only that<br>for too much longer.  
>Especially after last night. I<br>love it-but only because of the  
>result. Does that make sense?<p>

MASON  
>It does to me. It's alright doing<br>a thing for the rest of your life  
>if you take pleasure in the detail,<br>in the doing. But if you only feel  
>satisfied when you get a result,<br>it's not a real love of the craft  
>of it.<p>

DAISY  
>That's it. That's what I mean. I<br>do love cooking, but-not like a  
>real cook loves it. I'd like to<br>start coming out and learning the  
>farm.<p>

MASON  
>Why don't we start now?<p>

DAISY  
>Now?<p>

MASON  
>I'll show you the chickens. Just<br>that for today. What do you think?

DAISY  
>I don't have to be back until after<br>tea.

MASON  
>Let's to it, then.<p>

CARSON'S OFFICE

MARY  
>He's-gone?<p>

HUGHES  
>Some of his personal effects are<br>still there. So he'll most likely  
>be back. Maybe he went off to<br>think.

CARSON  
>A generous assumption.<p>

MARY  
>But probably correct. I haven't<br>talked to Papa about it yet.

CARSON  
>Whatever you would like to do, My<br>Lady-

MARY  
>Well, it is Sunday. We don't have<br>guests tonight. Let's give it a day  
>or two. Perhaps that's best. And<br>I'll talk to Papa.

HUGHES  
>Very good, My Lady.<p>

_Mary exits Carson's office and walks up the back stairs,_  
><em>meeting Anna.<em>

MARY  
>How did you find the blue silk?<br>Will it be ready for next week?

ANNA  
>Yes, My Lady. It's ready now.<p>

MARY  
>Thank you, Anna.<p>

ANNA  
>Urm-My Lady, may I go to my<br>friend's funeral tomorrow in the  
>late morning? We'll miss tea. I<br>wanted to make sure there was  
>nothing else pressing.<p>

MARY  
>Oh, of course! I am sorry about<br>Mrs. Wright. She was a very good  
>friend to you. It will be quite a<br>loss.

ANNA  
>I'm so fortunate to have known her<br>at all.

LIBRARY. AFTERNOON.

_Rose is on the phone, looking around as she speaks in a_  
><em>low voice.<em>

ROSE  
>Yes, I've done it. I've sent the<br>telegram. (BEAT) No, of course I  
>want to see some of London society.<br>But Mummy would love it so much,  
>you know? She would act as though<br>it were HER behind it, and that I  
>was- (BEAT) But I will. It's just<br>that, the very minute someone  
>suitable is dug up and I even half<br>like him they'll have me married  
>off, and Mummy would love that, too-<p>

HUGHES' OFFICE. EVENING. THE TABLE IS SET FOR TEA.

BATES  
>How was London, and your meeting of<br>the suffragettes?

HUGHES  
>London was very enjoyable, thank<br>you.

BATES  
>Have you heard any more about<br>Thomas?

HUGHES  
>I have not.<p>

BATES  
>His Lordship is reluctant to<br>believe it.

HUGHES  
>That won't sit well with Lady Mary.<p>

BATES  
>No, it won't.<p>

HUGHES  
>I wonder when he's coming back?<p>

BATES  
>It takes time to weigh your<br>options, when you're backed into a  
>corner.<p>

HUGHES  
>It's a corner of his own making.<p>

BATES  
>Probably just makes it worse.<p>

HUGHES  
>Yes. I-in London-<p>

_Hughes does not know how to get into what she wants to say._  
><em>She plunges in.<em>

HUGHES (CONT'D)  
>-I was on one of those busy street<br>corners with the lorries going by  
>and all the people crowding at the<br>edge of the street. And Mrs.  
>Patmore nearly fell.<p>

_Bates is looking sharply at her._

And I was thinking about Anna. The  
>way she looked right after it<br>happened. I don't think I will  
>ever erase that from my mind.<p>

_Bates is listening carefully._

HUGHES (CONT'D)  
>I spoke to Green one night, after.<br>And he was smug and satisfied. He  
>denied it at first, but then just<br>showed-satisfaction. Happy. Happy  
>with himself. That he'd gotten away<br>with it. And he thought I was  
>protecting HIM. But I thought I<br>was protecting Anna. Because the  
>worst thing in the world to her is<br>for you to go away again. All she  
>could think about was you being<br>hanged.

_Hughes picks up her tea cup. Her hand is shaking; the cup is_  
><em>rattling in the saucer. Bates reaches to take it from her and<em>  
><em>put it back on the table.<em>

HUGHES (CONT'D)  
>I was against lying to you about<br>it. But to see her hurt again-to  
>see her destroyed-I couldn't bear<br>it-

_She grabs his hand._

HUGHES (CONT'D)  
>Though we say there's a lid for<br>every pot, it's not always true, is  
>it? The truth is that love is<br>rare. What you and Anna have is  
>rare.<p>

BATES  
>Yes. I agree with that.<p>

HUGHES  
>And honor. It's so hard-won. To<br>sacrifice yourself, or risk  
>yourself for another. It can come<br>at such a cost. It can cost  
>everything.<p>

BATES  
>Yes.<p>

HUGHES  
>Love and honor, Mr. Bates.<p>

_She squeezes his hand and releases him._

HUGHES (CONT'D)  
>What in life matters more?<p>

BATES  
>Nothing I can think of.<p>

_Hughes and Bates gaze at each other for a long moment._

HUGHES  
>Nor I.<p>

NEXT MORNING, 11:30.

THE KING'S ARMS PUB IN RIPON. THOMAS IS ALONE AT THE BAR.

_The bartender, Mick, is watching Thomas. He's young, lean_  
><em>and blonde with a boyish face and a rakishly confident<em>  
><em>attitude.<em>

THOMAS  
>I'm your first customer of the day,<br>am I?

MICK  
>That you are.<p>

THOMAS  
>Is it always this slow of a<br>morning?

MICK  
>I don't know. And I don't mind it<br>just now. Change of pace.

THOMAS  
>You're new here.<p>

MICK  
>Started last week. I'm from<br>London. I'll go back after a bit.  
>But here is good for now.<p>

THOMAS  
>You're not hiding from anyone, are<br>you?

_Thomas has surprised himself. He begins to apologize. But_  
><em>Mick laughs.<em>

MICK  
>I won't need to for long.<p>

(He lowers his voice)  
>Jealous hearts are soon mended.<p>

THOMAS

_Laughs and takes a long drink of his pint._

MICK  
>So, what about you? Been out<br>wandering the moors all night? Wife  
>kick you out?<p>

THOMAS  
>No, at least I'll never have that<br>worry.

_Thomas realizes what he has just said and looks_  
><em>apprehensively at Mick. Mick smiles, lays his elbows on the<em>  
><em>bar and leans down, meeting Thomas's eyes.<em>

MICK  
>Nor I.<p>

BEAT

MICK (CONT'D)  
>Let's have a whiskey, shall we?<p>

FUNERAL PARLOUR, DAY. ANNA, BATES AND SEVERAL PEOPLE, ALL OF  
>WHOM LOOK VERY UPPER CLASS, IN BLACK.<p>

WILLIAM WRIGHT

_Approaches Anna. He is tall, handsome, dressed upper class_  
><em>and looking haggard.<em>

WRIGHT  
>Are you-Mrs. Anna Bates?<p>

ANNA  
>Yes.<p>

WRIGHT  
>William Wright.<p>

ANNA  
>Hello, yes. I knew your mother-<p>

WRIGHT  
>I am well aware. Is this Mr.<br>Bates?

BATES  
>Yes. John Bates.<p>

WRIGHT  
>William Wright, sir. I was about<br>to tell An-pardon me, my mother  
>spoke of you so often in her<br>letters that I keep almost calling  
>you Anna - the letters from my<br>mother were full of you. "Anna  
>takes me to church, Anna arranged<br>my medication," Do you have any  
>idea what you were to my mother, to<br>me? An angel from above.

_This phrase, also used by Green, gives Anna a chill - but she_  
><em>recovers quickly.<em>

BATES  
>You've just arrived, then?<p>

WRIGHT  
>Yes. My wife died last week.<p>

ANNA  
>I'm so sorry.<p>

WRIGHT  
>I got on the boat as soon as I had<br>buried Jennifer. I had hoped to  
>reach my mother to see her one last<br>time. When they've finally figured  
>out the transatlantic flight, that<br>will be a fortunate thing for  
>people in my position. It wasn't<br>soon enough for me. But enough of  
>my sob story. Mrs. Bates, you and<br>I have some business.

ANNA  
>Business?<p>

WRIGHT  
>Yes, you are remembered in my<br>mother's will. It won't be  
>necessary for you to attend the<br>reading, unless you want to. But  
>it might not be very pleasant.<p>

_Bates and Anna are stunned._

WRIGHT (CONT'D)  
>My mother was deeply Christian, as<br>you know. She believed that to  
>embrace a life of simplicity was<br>the best way to follow the  
>teachings of Christ. She moved to<br>this village, took a small house.  
>For a time she worked with the<br>poor.  
>There will be some surprises at the<br>reading of the will and if you were  
>there it might be awkward for you.<br>But you have every right to be and  
>you'd be welcome.<p>

ANNA  
>Mr. Wright. I-I am not family. If<br>you choose to amend the terms, I  
>will not contest anything. I don't<br>want-

WRIGHT  
>I won't hear of such a thing.<p>

_Wright is gazing around at the mourners._

Imagine how deeply it must have  
>hurt, to have all her friends<br>desert her because of her spiritual  
>beliefs. And she insisted I stay<br>with Jennifer until the end, so I  
>couldn't be here for her. She<br>wouldn't let me hire anyone. But  
>then you, without knowledge of any<br>of this, helped her simply out of  
>the good in your heart. She died<br>happier because she had known you.  
>She remembered you and I want that<br>honored in full. May I bring the  
>check round tomorrow night? I'm<br>afraid it might be a bit late, I've  
>other business in town as well.<p>

ANNA  
>If you're sure. As I've said, I'm<br>not family-

WRIGHT  
>I'll hear no more of it. I'll see<br>you then tomorrow evening.

KING'S ARMS PUB. TEA TIME. A BIT BUSIER.

_Thomas now sits at the corner end of the bar, away from the_  
><em>other patrons.<em>

MICK  
>There's a group. Ever read any<br>Elsa Gidlow?

THOMAS  
>No.<p>

MICK

_Pulls a book from his back pocket, slides the book onto the_  
><em>bar.<em>

She wrote "On a Grey Thread".

MICK (CONT'D)  
>Ever heard of Henry Gerber, Society<br>for Human Rights in Chicago?

THOMAS  
>No.<p>

MICK  
>You need to catch up, young man.<br>Times are changing.

THOMAS  
>Are they? Not in my hedgerow.<p>

MICK  
>Perhaps you need to get out more.<p>

THOMAS  
>And go to prison? No thank you.<p>

MICK  
>No one wants that. But there are<br>people who understand. Who go that  
>way. Who meet.<p>

THOMAS  
>Sounds dangerous.<p>

MICK  
>It is, a bit. But what sort of<br>life is it if you're never able to  
>be yourself?<p>

VILLAGE BACK STREET. DAY.

_Baxter steps out of a plain car onto the street. Another_  
><em>car, much more posh, stops directly behind it. The car door<em>  
><em>opens. Baxter steps inside, sitting on a seat across from a<em>  
><em>young lord. He is in his early twenties, slender, dark and<em>  
><em>grave with piercing grey eyes.<em>

BAXTER  
>Hello.<p>

YOUNG LORD  
>Hello.<p>

_They stare at each other for long moment, drinking each other_  
><em>in as the car begins to drive on.<em>

YOUNG LORD (CONT'D)  
>Thank you for agreeing to meet me.<p>

BAXTER  
>You made it sound urgent. But we<br>should not be doing this.

YOUNG LORD  
>I needed to see you.<p>

Silence.

BAXTER  
>How did you find out?<p>

YOUNG LORD  
>Death bed confession of Nanny Snow.<br>You do remember her?

BAXTER  
>Of course I do.<p>

YOUNG LORD  
>Well, here we are.<p>

BAXTER  
>But what is this about?<p>

YOUNG LORD  
>I have a right to know. I have a<br>right to-see you.

BAXTER  
>What makes you think that? I made<br>a promise.

YOUNG LORD  
>Under duress. I know what he did<br>to you. You don't know how  
>troublesome his habits have been.<p>

BAXTER  
>And you?<p>

YOUNG LORD  
>I'm not like him.<p>

BAXTER  
>You have his eyes.<p>

YOUNG LORD  
>I do. Yes. But now I see what<br>Nanny said about you.

BAXTER  
>This is-wrong.<p>

YOUNG LORD  
>How can it be? I want to...<p>

BAXTER  
>You can't know me. We can't-I made<br>a promise.

YOUNG LORD  
>Why did you make that promise?<p>

Silence.

YOUNG LORD (CONT'D)  
>It was to protect me, the way I<br>heard it.

BAXTER  
>Yes. And it still is.<p>

YOUNG LORD  
>Nonsense. I'm about to be Lord.<p>

BAXTER  
>Then even more so, it's not<br>possible-

YOUNG LORD  
>He fathered three other bastards,<br>all women, all scattered across the  
>county. I am the heir. As such I<br>have a say in my own life.

BAXTER  
>This was arrogant and foolish and<br>you misled me.

YOUNG LORD  
>Please.<p>

BAXTER  
>This was cruel, you know.<p>

YOUNG LORD  
>I didn't mean it to be. I needed<br>to see you. Please. I want to  
>help you or-<p>

BAXTER  
>Let me out.<p>

YOUNG LORD  
>No.<p>

BAXTER  
>Twenty-two years ago I was a young<br>woman and quite different than I am  
>now. You will stop this car and<br>you will do it immediately.

YOUNG LORD

_Calls to the driver._

Stop!

_The car stops. He leans forward and grasps her hands._

YOUNG LORD (CONT'D)  
>I know we're made the same. I know<br>it because I'm nothing like him.

_She pulls away._

BAXTER  
>Oh, you are.<p>

YOUNG LORD  
>No! I'm not. I'm just-desperate.<br>I've always felt apart, lost. And  
>now I know why.<p>

BAXTER  
>I must go-<p>

_Baxter steps out of the car, slamming the door, and runs away_  
><em>down the road. The young lord watches her out the window.<em>

ROAD TO THE ESTATE. DAY.

ANNA  
>I don't know how I feel about<br>taking it.

BATES  
>You don't have to. If you want to<br>donate to a charity in her memory,  
>you could do that.<p>

(Beat)

_They look at each other, thinking the same thing._

ANNA  
>But it might help us set up for<br>business, perhaps even with some  
>put by for emergencies.<p>

BATES  
>Why not do both? You know which<br>charities she favored. It could be  
>in her name.<p>

_Anna stops walking, puts her hand on her husband's chest. She_  
><em>glances around and seeing no one, tilts her head up for a<em>  
><em>kiss.<em>

ANNA  
>If I had just met you I would fall<br>in love with you right now.

PUB. EARLY EVENING.

MICK  
>A sad tale. Of a naughty boy.<p>

_He is smiling at Thomas. Thomas is beginning to feel very_  
><em>comfortable with Mick.<em>

MICK (CONT'D)  
>So, tell me, naughty boy. You<br>didn't get your vengeance. What is  
>it that you want now?<p>

THOMAS  
>I want to not be dismissed.<p>

MICK  
>You want to keep working there?<p>

THOMAS  
>Yes, I do. And preferably without<br>a demotion.

MICK  
>When you apologize, you're going to<br>have to act as if the apology is  
>more important than the job.<br>You'll need a gift for the little  
>cook. And a short but very good<br>speech of contrition. And you'll  
>have to MEAN it.<p>

EXT. FADE UP ON THE ESTATE.

CARSON'S OFFICE. MORNING.

_Thomas stands in Carson's office in front of Carson, Hughes,_  
><em>Anna, Daisy, Lady Mary and His Lordship. Thomas rotates his<em>  
><em>cap in his hands. He is in genuine distress, but holding<em>  
><em>himself on the edge of his fragile dignity.<em>

THOMAS  
>I would like to say something. I<br>have been at times a real cad. We  
>all know it. I've manipulated and<br>lied. I've stolen. I've made many  
>mistakes. But I intend to make any<br>reparations I'm able to.  
>I've come to think of everyone here<br>as family. Might seem strange.  
>Only, my family don't treat each<br>other much better than I've treated  
>everyone here. That's not meant to<br>be an excuse. I want to make it up  
>to everyone, if you will give me a<br>chance.

_Hands a wrapped book to Daisy._

This isn't adequate for the injury  
>I caused you. But I wanted you to<br>have it.  
>I'll be back tomorrow morning for<br>your decision.

_He stands for a moment making eye contact with them, shifting_  
><em>his feet. He turns and leaves.<em>

COURTYARD, DAY. JUST AFTER THE MEETING.

_Thomas stops behind a stone partition, taking out a cigarette_  
><em>with trembling hands. Anna walks up behind him, sees his<em>  
><em>tears.<em>

ANNA  
>There are a lot of people who would<br>be happy to see this. I don't know  
>why I'm not.<p>

THOMAS  
>You're moral. That's your<br>limitation.

_Anna has nothing to say on this point._

THOMAS  
>Mr. Bates, too, I suppose. But<br>he's not as smart.

_Anna is not pleased, but Thomas continues._

THOMAS (CONT'D)  
>And you stand up to people. You<br>and Lady Sybil.

ANNA  
>Are you missing her?<p>

THOMAS  
>I always miss her.<p>

(BEAT)

THOMAS (CONT'D)  
>I can't be like you.<p>

ANNA  
>I know. I'm not asking you to.<p>

_Thomas turns and looks at Anna._

THOMAS  
>I know you're not. You don't make<br>judgements. You take people how you  
>find them. That's not always good,<br>you know. But you're not stupid.

_Anna has a dark thought of her own. Thomas sees her thinking_  
><em>and although he's not sure what about, he picks up on her<em>  
><em>feeling.<em>

THOMAS (CONT'D)  
>I'll tell you what though. I<br>wouldn't-hurt you. That is, I never  
>meant-<p>

Silence.

ANNA  
>What?<p>

THOMAS  
>I'll do things other people won't<br>do. It's how I'm made, you see.

_He takes a long drag on his cigarette and stomps it out._

But when it came to Lady Sybil-and  
>when it comes to you-Daisy even, I<br>suppose... There are things-

_Thomas glances quickly behind Anna to see Bates exit the_  
><em>servants' door and enter the courtyard. Anna has not seen<em>  
><em>Bates yet.<em>

THOMAS (CONT'D)  
>There are things I wouldn't do.<br>Even if I wanted to.

ANNA  
>Well, that's something.<p>

THOMAS  
>It's more than you know.<p>

_Anna looks at Thomas for a long moment._

_Bates calls Anna from across the courtyard._

_Anna nods at Thomas and goes to Bates. Thomas walks away._

ISOBEL'S HOUSE. DAY.

_Isobel in gardening apron and gloves is carrying baskets of_  
><em>flowers into the house.<em>

_Lord Merton, escorted by the maid, appears in the doorway._

LORD MERTON  
>How lovely.<p>

ISOBEL  
>Yes! These are my favorites and<br>they've just opened. Tea?

LORD MERTON  
>They are lovely flowers, as well.<br>I'm afraid I have an errand after  
>all. I must away.<p>

ISOBEL  
>I see.<p>

_Now Isobel is confused. His first remark embarrasses her._  
><em>But he saves her.<em>

LORD MERTON  
>I was going to ask, though. I<br>wonder-

ISOBEL  
>Of course, yes.<p>

LORD MERTON  
>I'm sorry?<p>

_Isobel is mortified, hearing herself jump the gun._

ISOBEL  
>Yes. Urm. No-I-what were you going<br>to say?

LORD MERTON  
>Ah. Well, there's a new<br>establishment in Moulton, not far  
>from the gardens there. I thought<br>we might have lunch and a walk  
>tomorrow.<p>

ISOBEL  
>Yes, that would be fine.<p>

LORD MERTON  
>Very good. I'll pick you up at<br>say, 11:00?

ISOBEL  
>Yes.<p>

_He turns to go, then turns back and smiles at her._

LORD MERTON  
>Thank you.<p>

ISOBEL  
>For what?<p>

LORD MERTON  
>Thank you for deciding to give me a<br>chance.

_He nods at one of the baskets._

May I have one?

_Isobel cuts him a flower. He holds it to his upper lip and_  
><em>smiles at her before he turns to go. He departs.<em>

_Isobel sighs._

SERVANTS' DINING HALL. LATE AFTERNOON.

_Baxter is sewing on the machine. Mosely enters. She looks_  
><em>up, glad so see him, but distracted and a bit pale.<em>

MOSELY  
>Miss Baxter. How are you today?<p>

BAXTER  
>Very well, thank you Mr. Mosely.<p>

MOSELY  
>If there is anything I can do, I<br>hope you would tell me.

BAXTER  
>No, I-no, thank you.<p>

MOSELY  
>I do have a question, if you might<br>have a moment.

BAXTER

_Gives him her full attention now._

Yes?

MOSELY  
>Well, we, urm. That is, my father<br>and I. We were wondering. If you  
>might come for tea next week?<br>Don't know if roses bore you, but I  
>hope not. Dad will want to tell you<br>all about his roses. There will be  
>a tour.<p>

BAXTER  
>Does he grow any Yorkshire<br>varieties?

MOSELY  
>He's cross-bred several of his own.<p>

BAXTER  
>Oh, yes? Any rugosas?<p>

MOSELY  
>He's-well, he's won awards.<p>

BAXTER  
>Really?<p>

MOSELY  
>Yes.<p>

BAXTER  
>Urm...<p>

Mosely waits with a bit of anxiety.

BAXTER (CONT'D)  
>I suppose you can come, too, then.<p>

(BEAT)

Mosely gets the joke and laughs. Baxter is smiling  
>up at him.<p>

MICK'S ROOM ABOVE THE PUB. EARLY EVENING. A LAMP BURNS.

_Thomas is lying on the bed shirtless, smoking. Mick is_  
><em>before the mirror in a dressing gown that hangs open,<em>  
><em>brushing his hair.<em>

THOMAS  
>You'll break my heart. Won't you?<br>I'll just start to let down my  
>guard-<p>

MICK  
>Do you think I'm false? That I<br>would ever betray you?

THOMAS  
>No. Not false. Just-popular.<p>

MICK  
>And so will you be!<p>

THOMAS  
>(Snorts) No, I'll never be popular.<p>

MICK  
>Well, I'm good at it. Let me help<br>you.

_Mick runs to the bed and flops down beside Thomas, stretching_  
><em>out next to him.<em>

Just don't fall in love with me.

THOMAS  
>Is it that easy?<p>

MICK  
>Are you so delicate?<p>

THOMAS  
>Yeah. I think I am.<p>

MICK  
>Will you let that get in the way?<p>

THOMAS  
>Of what? Love, or a nice illusion<br>of it? A chance of getting my job  
>back? No. It's just a high price<br>to pay.

_Mick strokes a finger down Thomas's chest._

MICK  
>Not so high.<p>

THOMAS  
>Sometimes I feel like a train. If<br>I jump the track I've been on for  
>so long-I'll have nothing to run<br>on. I can't run on the same road  
>everyone else does.<p>

_Mick crawls over Thomas, looking down at him._

MICK  
>Pretend to not be a train, then.<p>

THOMAS  
>I already do that.<p>

MICK  
>Do it better.<p>

_Mick kisses Thomas. Thomas slides his arms around Mick._

KITCHEN. LATE EVENING.

_ANNA is alone in the kitchen, washing her hands._

_She hears a noise at the back door._

V/O from hallway.

WRIGHT  
>Anna? Urm-Mrs. Bates?<p>

ANNA  
>Yes, in here. Hello, Mr. Wright.<p>

_Wright is drunk, stumbling slightly with a flask in his hand._

WRIGHT  
>Forgive me, Ann - Mrs. Bates. But<br>here. Here is the check.

_He holds it out to her unsteadily._

WRIGHT (CONT'D)  
>You meant so much to my mother. I<br>suppose I've already said all that.

ANNA  
>Won't you sit?<p>

WRIGHT  
>No. I -<p>

_He braces his hand on the table, wobbling. He gazes at Anna_  
><em>for a BEAT.<em>

- you are quite lovely, you know.  
>Mother said so. My Jennifer was so<br>beautiful. Most beautiful girl I'd  
>ever seen. Until the cancer.<p>

ANNA  
>I'm so sor-<p>

WRIGHT

_Holds out the bottle._

Try for a little fun? No? There  
>isn't really that much fun in the<br>world, is there? You've got to  
>seize it in the moment. The moments<br>do fly. They do fly. Gone before  
>you know it.<p>

_His head is lowered and he is gazing at her, slurring._

WRIGHT (CONT'D)  
>Do you know how successful I am?<br>I'm a captain of industry. Worked  
>my guts out. But in the end, did<br>it matter? I've done well, Anna.  
>Very, very well. And now what do I<br>have? No one to spend it on. No  
>one at all.<p>

_Stumbles too close to Anna._

WRIGHT (CONT'D)  
>No one.<p>

_Anna is backed up against the counter, in nearly same_  
><em>location she was in when Green hit her. She is trembling.<em>  
><em>She gropes the counter behind her. Her fingers curl around<em>  
><em>the handle of a cast iron pan.<em>

_Bates enters the kitchen doorway._

BATES  
>Anna?<p>

_In two steps Bates has Wright by the elbow and pulls him_  
><em>back.<em>

BATES (CONT'D)  
>Mr. Wright.<p>

WRIGHT  
>(Surprised) Oh! Mr. Bates. Good<br>evening. I was about to give Mrs.  
>Bates-<p>

_He begins patting his pockets._

ANNA  
>Mr. Wright, you already gave me the<br>check.

WRIGHT  
>Did I?<p>

BATES  
>Mr. Wright, perhaps you had better-<p>

WRIGHT  
>Good God, what have I been doing?<p>

_He stares at Anna._

You're frightened. I've frightened  
>you.<p>

_Anna takes a breath._

WRIGHT (CONT'D)  
>My wife would be mortified.<p>

_He turns to look at Bates._

WRIGHT (CONT'D)  
>My mother would be ashamed.<p>

BATES  
>Mr. Wright-<p>

WRIGHT  
>I've clearly not only outstayed my<br>welcome, but I've caused harm.  
>Dear Mrs. Bates. Please-I-I will<br>send a letter begging your  
>forgiveness. I'm incapable of doing<br>so properly at the moment. Mr.  
>Bates, if I may ask-<p>

BATES  
>I'll help you to your car, sir.<p>

_Wright is hanging onto Bates. He looks at Anna, even through_  
><em>his drunken haze, with deep regret.<em>

WRIGHT  
>I am so sorry.<p>

ROBERT AND CORA'S BEDROOM. LATE EVENING.

Cora is in bed with Robert. She holds a book on her lap.

CORA  
>Well, of course I believe my own<br>daughter. I thought he was  
>exceptional. But I put what Mary<br>tells me first.

ROBERT  
>I don't want to let him go. And I<br>can't explain it, even to myself.

CORA  
>Well, you'd better be able to<br>explain it to Mary. She convinced.  
>But who knows now? He may not even<br>come back tomorrow and we may not  
>even need to make a decision.<p>

ROBERT  
>Now I almost find that worse.<br>Running off. Anyone with a war  
>wound I would expect more of.<p>

CORA  
>Oh. Of course.<p>

ROBERT  
>Of course what?<p>

CORA  
>Military. That's the soft spot<br>you've got. That and the cricket.

ROBERT  
>It's nothing to do with any of<br>that. It's simply doing what's  
>right. And I am not sure what's<br>right.

CORA  
>Be careful.<p>

ROBERT  
>Of what?<p>

CORA  
>Saying all this in front of Mary.<br>It's one thing to not trust your  
>daughter with the future of an<br>estate. It's another to put her  
>word second to that of a servant.<p>

ROBERT  
>I have never said that.<p>

CORA  
>You just did.<p>

KITCHEN. EVENING. WRIGHT HAS LEFT.

_Anna picks up the small cast iron pan she's been holding._  
><em>She looks at it, then sets it down on the counter with a<em>  
><em>slight bang.<em>

_Bates strides quickly back through the servant's door and_  
><em>into the kitchen, scooping Anna into his arms. They hold<em>  
><em>each other for a BEAT.<em>

ANNA  
>All those feelings came back. Just<br>like when it first happened! After  
>all this time I thought I was<br>better. But for a minute it was  
>all exactly like that night-<p>

BATES  
>I know.<p>

ANNA  
>But I really think he was just<br>drunk and bereft and trying to be  
>kind.<p>

BATES  
>So do I.<p>

ANNA  
>But-<p>

BATES  
>Do you know I'm very glad that I am<br>not expected to be a loader for the  
>shooting lunches?<p>

_Anna looks up at him._

BATES (CONT'D)  
>I'm not particularly fond of the<br>sound of gunfire.

_Anna nods. They have talked about it before. She knows._

BATES (CONT'D)  
>It all comes back, as though I'm<br>right back there again on the  
>battlefield. Less and less over<br>time, but it never goes completely  
>away.<p>

_Cups her face tenderly in his hands._

BATES (CONT'D)  
>This is not a set back. All the<br>way you've come, all the progress  
>you have made is still yours and it<br>can't be taken from you. You earned  
>it, it belongs to you. These things<br>come back when they choose to. But  
>you've already defeated the past.<br>You've already won, my darling.

_They hold each other. Anna looks up. She sighs._

ANNA  
>John. Take me home.<p>

NIGHT. THE GARDEN OUTSIDE LADY GRANTHAM'S HOUSE. MOONLIGHT.

_Violet is in her robe, sitting on a marble bench. She is_  
><em>looking at the moon and shivering, and talking softly to<em>  
><em>someone who is not there.<em>

VIOLET  
>But you must see. It's not his<br>fault. He would never hurt me.  
>Never. You can't judge-<p>

WITHIN THE HOUSE

_Sprat appears in his robe, blinking in the moonlight as he_  
><em>looks out the window. His expression changes to one of<em>  
><em>alarm.<em>

_Sprat enters garden._

SPRAT  
>My Lady?<p>

_Violet looks up, mortified. There is an electric pause._

SPRAT (CONT'D)  
>It seems you might have been<br>sleepwalking, my lady. Might I  
>escort you back to your room?<p>

_Violet is grateful. She is very cold. Sprat takes off his_  
><em>robe, being only in his pajamas, and wraps it around her to<em>  
><em>escort her in.<em>

VIOLET  
>Yes. I-I must have. Thank you,<br>Sprat.

MICK'S ROOMS ABOVE THE PUB. LATE NIGHT.

_Thomas and Mick are in bed, lit only by moonlight from the_  
><em>window. Mick is stroking Thomas's hair.<em>

MICK  
>Something else to think about,<br>naughty boy. A good-looking boy  
>with your experience might get on<br>at the Savoy. Have you thought of  
>that? And the Savoy is not the<br>only establishment in London. You  
>know the old ways and you'll pick<br>up the new.  
>Why stay at a country estate that<br>will end up rotting and full of  
>bats? Get your reference. Get on as<br>an omnibus boy at a good club, work  
>your way up. There are many, many<br>men in London, Naughty. Hotsy-totsy  
>and they go that way. I'll bring<br>you out. Think about it. You  
>don't have to stay here.<p>

COTTAGE. NIGHT.

_Bates lights the lamp at the desk, which fills the front room_  
><em>with a soft light. Anna stands next to him.<em>

ANNA  
>And now, there's this. I haven't<br>even looked at it yet.

She opens the check.

They stare at it.

_She drops it on the desk. She wraps her arms tightly around_  
><em>him and lays her cheek on his chest.<em>

ANNA (CONT'D)  
>Do you want a bigger hotel?<p>

BATES  
>No. Let's stick with something easy<br>to manage, but profitable enough.  
>And as you said, have a bit put by.<p>

ANNA  
>That won't be as much of a worry.<p>

BATES  
>No, it won't.<p>

ANNA  
>I can't think about this now.<p>

BATES  
>Let's not. Let's just go to bed.<p>

ANNA  
>What a perfect idea.<p>

_Still with her cheek on his chest, she looks down at the_  
><em>desk, touching a stack of letters.<em>

ANNA (CONT'D)  
>You have such a correspondence<br>these days. Properties?

_Bates kisses her, long and deep._

CLOSE UP AS HE LOOKS DOWN AT HER FOR A  
>(BEAT).<p>

BATES  
>Come on. Bed.<p> 


End file.
